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Ruby Jensing: Movie Producer by Maria Paola Chironi

Cheryl A. I spent my time filming Mark interacting with fans, all the while hearing stories of how people connected with the film and how emotional of an experience it was for them. There I heard the backstories. I started tearing up while filming and realized that our documentary was going to be bigger than we had anticipated.

Nightmare 2 , however, has a Final Boy played by Patton. Does the casting of a male in that role, of victim-to-victor, automatically feminize them?

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In a horror film, it becomes a matter of if men are allowed to be weak. In fact, we were rather vulnerable. Filmmaker: And your film makes clear that as much as the film is a frequently cited and praised example of gay horror, it also attracted endless homophobes attacking it online. Horror fans can be both progressive and…something else.

Certain rules are set and you [have to follow them], i. Anything that goes against the grain of what is tried and true is typically dismissed. The one thing I know about bullies is that they bully because they can. I mean, New Line Cinema founder Robert Shaye makes a cameo dressed in tight, revealing leather, serving drinks at a gay bar! Did the filmmakers do this on purpose? Jensen: One thing I discovered in the art direction of that bar scene is that when they introduce Jesse entering through the curtain, in the left corner of the frame is what appears to be a Tom of Finland poster on the wall.

Gay men were considered freaks and weirdos. How long did it take to get that sit-down meeting confirmed? Chimienti: We were in a tough spot. Mark had these unresolved issues and was still trying to find solace. We had ideas of what we would end the film with, but it all depended on where his story landed. The plan was to then bring Mark in and record their face-to-face meeting as it occurred. Keep in mind that this was in January and it was freezing and we had to keep Mark hanging out in the car while we set up our cameras and lights and spoke with Chaskin.

It was like an hour-and-a-half interview, but in the middle of all that, a hail storm hit, and we had to stop recording and wait it out. The tension is brewing. We have them sit down, they start speaking, and once we get to the meat of their conflict, our tape runs out. Chaskin and Mark are asking each other some pretty incendiary questions and then bam: we have to stop recording and change tapes. Chimienti: They had to sit there, glaring at each other. Jensen: Exactly, for about three minutes. It was tense. We had three cameras, one for each of the men and one for the master shot of the two of them in the same frame.

Chimienti: But the entirety of the film shoot remained untraditional.

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We had to do things on-the-fly. The David Chaskin interview was a little different because we could prepare for that, but almost everything else was a happy accident. Filmmaker: What kind of archival research was done on the project? Chimienti: We have a friend, Leo Herrera, who is an LGBT historian, and he had been working on his own project called Fathers , a piece that encompasses historical footage pertaining to the gay community.

We asked Leo for help and he was able to assess the things we needed and help us locate accordingly. But for Tyler and I, working on a documentary very much about the s, we were often left with radio recordings to work off of.

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Filmmaker: Much of your conservative uprising archival footage is transmitted through the literal framing device of an antiquated television set. Allowing world affairs into your home via the television set may seem old fashioned, but it provided a cultural gateway for millions of families not too long ago—I imagine for your families as well? Jensen: Absolutely. That being said, the images of queer people that came through the television set at the time were very limited and negative.